National Theatre Brno - Jenůfa - 49th Hong Kong Arts Festival by Hong Kong Arts Festival

行政長官的話

MESSAGE FROM THE CHIEF EXECUTIVE

大部分節目，當中許多節目更開放予世界各地愛好藝術的觀眾。

衷心祝賀香港藝術節今年踏入第 49 屆。這一年一度的藝術盛事在新冠肺炎疫情的挑戰下，仍然辦得有聲有色，精采可期。

今年藝術節帶來一連串繽紛多彩的網上及現場節目，涵蓋音樂、歌劇、戲劇、舞蹈、電影等多個藝術範疇。總體來說，藝術節會在「遠在咫尺」的主題下，呈獻合共約三百場節目、活動及表演。藝術節的亮點，包括捷克布爾諾國家歌劇院及其兩年一度「布爾諾楊納傑克節」的多場精選數碼版歌劇及音樂會。同樣引人注目的，還有兩部取材自英國劇作家尼爾．巴奈特改編劇作《鼠疫》的發人深省作品，一部為英語版，另一部為粵語版。粵語版為香港本地製作，英語版則由身處六個地區的六名演員作網上實時演出。來自蘇格蘭鄉村的魔術師史葛．蕭凡亦會在網上實時演出，他的互動作品《心靈旅程》每場只限三十位觀眾參與。此外，亦有十六部慶祝香港賽馬會當代舞蹈平台十周年的製作，包括與中國內地及英國藝術家合力創作的作品。在藝術節開幕演出中，香港中樂團會進行兩首曲目的世界首演，而廣獲讚譽的莫斯科莫伊謝耶夫舞團，則會為這國際藝壇盛會作閉幕演出。我很高興市民可於登記後免費觀賞

藝術節一如以往，在學校推廣藝術教育，並透過幕後花絮影片、藝術家對談、演前及演後講座等「加料節目」，讓觀眾與藝術家互動交流。

衷心感謝香港藝術節團隊努力不懈，悉心籌辦以上各項節目及活動。我亦感謝贊助商和捐款者大力支持藝術文化，與藝術文化界共渡時艱。謹祝香港藝術節圓滿成功，為大家帶來一趟精采難忘的藝術之旅。

It gives me great pleasure to congratulate the Hong Kong Arts Festival on the staging of its 49th annual celebration of the arts, and doing so in splendid fashion despite the daunting challenges of the COVID-19 pandemic. This year’s Festival features a cheering range of online and in-venue programmes showcasing music, opera, theatre, dance, film and more. In all, the Festival presents some 300 events, activities and performances under the theme “Separate Together”. Festival highlights include a dazzling digital selection of operas and concerts from the Czech Republic’s National Theatre Brno and its biennial Janá ek Brno Festival. Equally notable are two piercing productions of British playwright Neil Bartlett’s adaptation of The Plague, one in English, the other in Cantonese. The Cantonese version is produced in Hong Kong, while the English version is a live

香港特別行政區行政長官

林鄭月娥

online performance starring six actors in six time zones. Illusionist Scott Silven also performs online and live, from rural Scotland. His interactive production, The Journey, is limited to 30 participants per show. The Hong Kong Jockey Club Contemporary Dance Series celebrates its 10th anniversary with 16 productions, including collaborations with artists from the Chinese mainland and the United Kingdom. The Festival opens with the Hong Kong Chinese Orchestra performing two world premieres and concludes its international slate with the acclaimed Igor Moiseyev Ballet from Moscow. I find it particularly gratifying to note that the vast majority of events are available free of charge, upon registration, with many of them open to arts lovers from all over the world. The Arts Festival’s promotion of arts education in schools continues. And PLUS programmes bring together audiences and artists through behindthe-scenes videos, artist dialogues and pre- and post-performance talks. For all that, and much more, I am grateful to the inspired diligence and dedication of the Hong Kong Arts Festival team. My thanks, too, to the sponsors and donors for their generous support to arts and culture, particularly in this trying time. I wish you all an enjoyable and memorable Hong Kong Arts Festival.

Mrs Carrie Lam

Chief Executive Hong Kong Special Administrative Region

主席的話

MESSAGE FROM THE CHAIRMAN

第 49 屆香港藝術節思考「距離」及「聯繫」的意義，我亦希望藉此機會感謝一眾促成今天表演的支持者，這場表演為我們提供難得的機會，探索與他人聯繫的方法。我衷心感謝香港特別行政區政府透

過康樂及文化事務署提供年度撥款，以及香港賽馬會慈善信託基金持續並堅定地支持我們，也感謝眾多企業贊助商、慈善基金會以至個人捐助者，在這前所未有的挑戰中給予我們莫大的幫助，與我們並肩同行。亦要感謝一眾富有才華的藝術家傾力演出，令今天的表演生色不少。同時也感謝觀眾的參與，令演出能圓滿成功。希望你會在今天的演出中找到屬於自己的聯繫，並像我一樣珍視這些連結。

As we reflect on distance and connection in the 49th Hong Kong Arts Festival, I would like to thank everyone who has made this performance possible, giving us an invaluable opportunity to explore ways of connecting with others. I am grateful to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention; and to The Hong Kong Jockey Club Charities Trust for its staunch and ongoing support. Thanks are also due to our corporate sponsors, charitable foundations and individual donors, who continue to stand by us in these unprecedented circumstances. Sincere thanks also go to all of the participating artists, whose talent and dedication have gone into today’s performance; and to you, the audience, without whom the show would not be complete. I hope you will find your own connection to today’s performance and will treasure it as much as I do.

香港藝術節主席

查懋成

Victor Cha

Chairman Hong Kong Arts Festival

行政總監的話

MESSAGE FROM THE EXECUTIVE DIRECTOR

我連同藝術節團隊，很高興歡迎閣下觀賞第 49 屆香港藝術節的演出。

過去一年，香港以至世界情勢面臨前所未有的變化，使我們都體會到分離和孤獨的滋味。「遠在咫尺」所指的，正是我們這種共同經歷的感

With all my colleagues, I am thrilled to welcome you to this performance in the 49th Hong Kong Arts Festival.

Over the past year, we have shared the isolation resulting from unprecedented circumstances both in Hong Kong and around the world. 受。今屆藝術節的不少節目亦與之 “Separate Together” acknowledges 呼應，身處各地的藝術家及觀眾， what we have all been going through, 因為藝術節的演出及活動而拉近彼 and is referenced in a number 此距離。另一方面，「遠在咫尺」亦 of productions this year. It also 點出所有優秀藝術作品擁有的奇妙 alludes to all the separate artists 力量：既能喚起最獨特、深刻的個 and audiences brought together for 人感受和回應，但同時又能讓觀者 performances and events. At the 一同分享種種奧妙、感動、啟迪 same time, “Separate Together” 和鼓舞。今屆藝術節將呈獻眾多演 describes one of the most magical 出，我衷心希望我們會一起體會藝 aspects of great art: its capacity to elicit uniquely and deeply personal 術的奇妙力量。 responses while paradoxically giving 此外，敬請留意一連串「加料節目」 us a shared moment of wonder, to be 活動，為你在演出以外打開新的觀 moved, inspired and uplifted. I hope 賞角度，令觀賞體驗更豐富。請盡 very much that we will experience this together in many performances in the 情投入！ course of the Festival. Please also look out for ancillary PLUS programmes and events, which are curated to provide additional dimensions to the work presented, and enrich your Festival experience. Enjoy!

香港藝術節行政總監

何嘉坤

香港藝術節資助來自： The Hong Kong Arts Festival is made possible with the funding support of:

Tisa Ho

Executive Director Hong Kong Arts Festival

香港藝術節 HONG KONG ARTS FESTIVAL

扎根香港的國際藝壇盛事 A major international arts festival in, of and for Hong Kong

「藝術的創作與演出給世界帶來美麗，給人類引起鼓舞，給生命充實活力，給社會增添光輝……這是舉辦香港藝術節的崇高意義。」

“Creative and representational arts have a common mission. They bring beauty to the world, courage to mankind, vigour to life, and brilliance to society… Therein lies the noble significance of the Festival.” 香港藝術節協會永遠名譽會長邵逸夫爵士 (1907–2014) Sir Run Run Shaw, CBE, HKAF Honourary Life President (1907–2014)

香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的文化盛事，於每年 2、3 月期間呈獻眾多優秀本地及國際藝術家的演出，致力豐富香港的文化生活。藝術節的節目精采多元，涉獵音樂、歌劇、戲曲、實驗劇場、芭蕾舞以至街舞等林林總總的類型。過往曾獲邀在藝術節舞台表演的國際演藝名家及團體包括一流的國家歌劇院、劇團、管弦樂團，以及眾多具代表性的表演者等。我們亦經常與傑出的國際藝術家及團體攜手製作演出。

我們亦積極與本地演藝人才合作，並致力為新進藝術家提供展示才華的平台。藝術節至今委約及製作逾 200 套本地全新創作，包括戲劇、室內歌劇、音樂和舞蹈作品，不少更已在香港及海外多次重演。

為使香港的文化生活更豐富，我們每年於藝術節前及期間主辦一系列多元化並深入社區的「加料節目」，例如電影放映、大師班、展覽、藝人談、後台參觀及文化導賞團等，鼓勵觀眾與藝術家互動接觸。

我們亦銳意將共融藝術理念拓展到社區每一角落。由藝術節與香港賽馬會慈善信託基金聯合呈獻的「無限亮」計劃於 2019 年正式開展，透過一系列的演出及多元的教育及社區外展節目，「無限亮」致力創造共融空間，讓不同能力人士均可以一同欣賞、參與及擁抱藝術。

The Hong Kong Arts Festival (HKAF) is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts in February and March each year. Since its launch in 1973, HKAF has presented top international artists and ensembles across multiple genres—from music, opera, Chinese opera and ballet to break dance and experimental theatre. International guests have included major state operas, established theatres, top orchestras and stars of the day. We also frequently partner with renowned international artists and institutions to produce exceptional new works. We have also collaborated with Hong Kong’s own creative talent to produce work which is now part of the local canon and to showcase emerging local artists. Over the years, the HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance—many with successful subsequent performances in Hong Kong and overseas. As part of our enduring commitment to enriching the cultural life of the city, we organise a diverse range of Festival PLUS activities for the community before and during the Festival to enhance engagement between artists and audiences. These include film screenings, masterclasses, exhibitions,

為了培養未來的藝術家和觀眾，我們大力投資下一代的藝術教育。「青少年之友」成立 29 年來，已為逾 782,000 位本地中學生及大專生提供藝術體驗活動。會員可參加由國際及本地藝術家主持的示範講座及工作坊、學生展演、演前講座、公開彩排，以及欣賞藝術節演出等。通過「學生票捐助計劃」，藝術節每年亦提供約 10,000 張半價學生票。

香港藝術節是一所非牟利機構，其主要收入除了政府的恆常資助及票房外，極大一部分來自各大企業、熱心人士和慈善基金會的贊助和捐款，以及政府針對捐款和贊助收入而提供的配對資助。

*2021 年 1 月更新 Updated January 2021

過往節目一覽

Visit our programme archive

meet-the-artist sessions and guided backstage and cultural tours. Beyond the main Festival, the HKAF also promotes inclusivity and understanding through the arts. Its “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, strives to create an inclusive space for people with different abilities to share the joy of the arts together. To nurture the next generation of artists and audiences, the HKAF also invests heavily in yearround arts education for young people. Over the past 29 years, our “Young Friends” scheme has reached over 782,000 local secondary and tertiary school students; members can enjoy showcases, pre-performance talks, open rehearsals, Festival performances and in-school workshops led by international and local artists. Donations to the Student Ticket Scheme also make approximately 10,000 half-price student tickets available each year. HKAF is a non-profit organisation. Its principal income sources are: recurrent funding from the government, box office revenues, and sponsorship and donations made by corporations, individuals and charitable foundations which form a significant portion of total income and also enables HKAF to receive support from the Government’s matching scheme that matches income generated through private sector sponsorship and donations.

香港藝術節 HONG KONG ARTS FESTIVAL 感謝 would like to thank

贊助 for sponsoring 「香港賽馬會藝粹系列」之捷克布爾諾國家歌劇院《耶奴法》節目放映

THE SCREENING OF JENŮFA BY NATIONAL THEATRE BRNO as part of THE HONG KONG JOCKEY CLUB SERIES

捷克布爾諾國家歌劇院 National Theatre Brno

耶奴法

JEN FA 11–14.03.2021 網上演出

Online Performance

演出長約 2 小時

Approx 2 hours

捷克語演出，附中、英文字幕

Performed in Czech with Chinese and English subtitles

劇情大綱

關於《耶奴法》

關於楊納傑克

歌劇團簡介

創作團隊簡介

演員簡介

Synopsis

About Jen fa

About Leoš Janá ek

Company Profile

Creative Team Profiles

Cast Profiles

只限香港地區播放

Hong Kong only

香港藝術節感謝天開數碼媒體有限公司為《耶奴法》節目提供視頻串流技術 The HKAF thanks TFI for providing video streaming technology support for the online screening of Jen fa 藝術節加料節目

封面照片及劇照 Cover and Production Photographs © Patrik Borecký

歡迎觀賞歌劇的幕後花絮片段，瀏覽連結請參閱加料節目網頁 Have a look at the behind-the-scenes video for more backstage stories. Please visit the PLUS webpage for viewing link.

請勿在網上演出途中錄影、錄音、攝影或轉播 Photography, streaming or recording of any kind is strictly prohibited 通訊、流量狀況及其他外部因素可能影響影片畫質及音質，敬請見諒 Picture stability and quality are subject to home internet speeds and bandwidth, and other external factors

耶奴法

Jen fa

指揮 Conductor

馬可．伊雲奴域

Marko Ivanovi 導演 Director

馬丁．格瑟

Martin Glaser 佈景設計 Set Designer

巴維．博拉克

Pavel Borák

服裝設計 Costume Designer

瑪琪塔．史拉迪高娃

Markéta Sláde ková

燈光設計 Lighting Designer

馬丁．史比力

管弦樂團 Orchestra

布爾諾國家歌劇院楊納傑克歌劇團管弦樂團

The National Theatre Brno Janá ek Opera Orchestra

歌詞中譯 Chinese Lyrics Translation

李凱琪 Amy Li

角色及演出 Cast

帕芙拉．維科帕洛娃

Pavla Vykopalová 飾 – 耶奴法 as Jen fa

蘇菲亞．拉利克

Szilvia Rálik

飾 – 郭坦妮卡 as Kostelni ka

編舞 Choreographer

Tomáš Juhás

合唱團指揮 Choirmaster

巴維．康納克

Pavel Ko árek 合唱團 Choir

布爾諾國家歌劇院楊納傑克歌劇團合唱團

The National Theatre Brno Janá ek Opera Choir

飾 – 卡蘿卡 as Karolka

史坦尼斯拉娃．約古

Stanislava Jirk

飾 – 牧女 as Herdswoman

蓮卡．沙倫伯格

Lenka Schallenberger

飾 – 巴雲娜 / 僕人 as Barena/Servant

瑪蒂娜．瑪特洛娃

Martina Mádlová 飾 – 顏諾 as Jano

伊凡娜．史柏高娃

Ivona Špi ková 飾 – 姨母 as Aunt

Jaroslav B ezina 飾 – 路卡 as Laca

Mário Rada ovský

Eva Št rbová

雅羅斯拉夫．布熱齊納

Martin Špetlík

瑪利奥．拉達高夫斯基

伊娃．施特爾寶娃

托馬斯．朱翰斯飾 – 史提法 as Števa

伊特卡．扎爾豪奧娃

Jitka Zerhauová

飾 – 祖母 as Grandmother Buryjovka

伊凡．庫斯內爾

Ivan Kusnjer

飾 – 磨坊主管 as Mill Foreman

拉迪斯拉夫．梅約尼克

Ladislav Mlejnek 飾 – 市長 as Mayor

雅娜．赫羅喬娃

Jana Hrochová

飾 – 市長夫人 as Mayor’s Wife

Publisher — Universal Edition AG, Wien. For the Czech Republic — DILIA z.s.

劇情大綱

SYNOPSIS

第一幕 ACT 1

美麗的耶奴法心急如焚，擔心愛人史提法會被徵召入伍。她懷上史提法的孩子，如果他要到遠方參軍，將會影響二人婚事。史提法的繼兄路卡暗中愛慕耶奴法，卻就史提法的事對她冷嘲熱諷。史提法未被徵召入伍，與朋友和樂手興高采烈地來到磨坊暢飲慶祝。耶奴法嚴厲的監護人郭坦妮卡看見這場放縱派對，史提法更帶頭胡鬧，令她想起酗酒的丈夫帶給她的痛苦生活。她向眾人宣布，史提法必須先通過一年觀察期，期間不得喝酒，才能迎娶耶奴法。路卡試圖說服耶奴法，說史提法只愛她的美貌，在爭吵中他用刀劃傷了耶奴法的臉。

The beautiful Jen fa waits, fearing that her beloved Števa has been conscripted to the army. She is expecting his child and, if he leaves, their intended marriage will be in doubt. Števa’s stepbrother Laca also carries a torch for Jen fa and teases her about Števa. Števa arrives at the mill in high spirits with his friends and some musicians—he has not been conscripted and he and the others drink to their good fortune. Jen fa’s guardian, the strict Kostelni ka, sees the riotous party with Števa at its head and remembers her own cruel life with an alcoholic husband. She announces to all those gathered that she will only give her consent for Jen fa’s marriage to Števa after a year of probation, during which Števa will promise to not drink. Laca tries to convince Jen fa that Števa loves her only because of her looks, and during an ensuing argument he cuts her face with a knife.

劇情大綱

第二幕 ACT 2

郭坦妮卡害怕蒙羞，於是把耶奴法藏在家中。其間，耶奴法誕下她與史提法的兒子。郭坦妮卡趁耶奴法熟睡之際，懇求史提法娶耶奴法為妻。史提法認為耶奴法臉上的傷疤令她變醜，更何況他已經與市長的女兒訂婚，於是拒絕。郭坦妮卡告訴路卡，耶奴法已誕下史提法的孩子，路卡大受震驚。郭坦妮卡看到他眼中的疑慮，在絕望中謊稱孩子已夭折。路卡離開後，郭坦妮卡隨即把孩子淹死在冰冷的河水中，並回家說服耶奴法孩子已不幸夭折。耶奴法在悲痛絕望中答應嫁給路卡。

第三幕 ACT 3

耶奴法和路卡的婚禮準備就緒，這時傳來河裏發現死嬰的消息。耶奴法認出屬於她兒子的帽子，更被指控謀殺。郭坦妮卡向賓客承認謀殺了孩子。在市長帶走郭坦妮卡到法庭審訊前，耶奴法原諒了她。一切真相大白，耶奴法不相信路卡還想娶她。路卡卻想留在耶奴法身邊，承諾今後與她同甘共苦，永不離棄。

Synopsis

Fearing disgrace, Kostelni ka hides Jen fa at home. During this time, Jen fa gives birth to a son. While Jen fa is sleeping, Kostelni ka entreats Števa to marry Jen fa. But Jen fa’s scarred face has made her ugly in Števa’s eyes and, in any case, he is already engaged to the Mayor’s daughter. Kostelni ka reveals to Laca that Jen fa has had Števa’s child, and Laca is shocked. Seeing his doubts, Kostelni ka in desperation says that the child died soon after being born. As soon as Laca leaves, Kostelni ka drowns the child in the icy river and convinces Jen fa that the little boy has died. The devastated Jen fa agrees to marry Laca.

As preparations are being made for Jen fa and Laca’s wedding, news comes that a dead child has been found in the river. Jen fa recognises her little boy’s bonnet and she is suspected of the murder. Kostelni ka confesses in front of the assembled guests. Before the Mayor leads Kostelni ka off to court, Jen fa forgives her. Jen fa does not believe that Laca will still want her. Laca, however, wants to stay by her side and promises to stand by her through thick and thin.

關於《耶奴法》 ABOUT JEN FA

《耶奴法》跟楊納傑克第二齣歌劇《羅曼史的開端》一樣，

都是以作家佩拉索娃的作品為藍本；《耶奴法》正是根據具爭議性的戲劇《她的繼女》寫成，故事發生在摩爾維亞一條

村莊。其實在《她的繼女》以前，佩拉索娃另一齣話劇《農

夫的女人》也曾在布拉格國家劇院上演，而且好評如潮。

《農夫的女人》與《她的繼女》一樣，寫實地刻劃摩爾維

亞—斯洛伐克地區的農村生活，而且《農夫的女人》後來也由佛爾斯特改編成歌劇《伊娃》。正因為《農夫的女人》非

常成功，佩拉索娃才再接再厲寫作《她的繼女》，怎料反應卻差天共地。

Like Janá ek’s second opera, The Beginning of a Romance, the libretto for Jen fa was based on the work of writer Gabriela Preissová. This time it was the play Her Stepdaughter, which had provoked much controversy, and which was set in a Moravian village. Prior to Her Stepdaughter, Preissová had enjoyed great success at the Prague National Theatre with the play The Farmer’s Woman (which was later turned into the opera Eva by J. B. Foerster), which—like Her Stepdaughter—offered a realistic view of life in rural Slovácko (Moravian Slovakia). The success of The Farmer’s Woman prompted Preissová to write Her Stepdaughter. But it met with a far colder reception.

關於《耶奴法》

《她的繼女》1890 年在布拉格國家劇院首演，可是差點引發軒然大波——有批評指責劇作家貶低當地農民。然而這一切也沒有令楊納傑克卻步。即使佩拉索娃本人認為《她的繼女》不宜改編成歌劇，甚至一直游說楊納傑克打消改編念頭，楊納傑克還是在 1893 年（正好在歌劇《羅曼史的開端》首演之前）從佩拉索娃那得到改編權。不過這次楊納傑克不想以韻文體寫作劇本──事實上，他是早期決定以散文體寫作歌劇的作曲家之一。箇中原因也許與《羅曼史的開端》的韻文體劇本為他帶來的難題有關，可是楊納傑克之所以鍾情散文體劇本，主要是希望如實捕捉言語的旋律。雖然楊納傑克首個有正式記錄的語音旋律見於 1897 年，但此前他已經因為鑽研民歌而留意到人類言語裏的音樂元素。他認為人類言語就是「靈魂之窗」，認為語音旋律能反映個人性格以及當刻心境。往後的日子，楊納傑克一直忙於鑽研有關人類言語的種種旋律及節奏；他所記下的數千段語音旋律也保留至今。語音旋律與民歌，兩者都將楊納傑克帶到全新的創作道路上，再加上《她的繼女》的散文體概念，三者對他在新作裏發展嶄新音樂及劇場風格都有舉足輕重的影響。

《耶奴法》的散文體劇本由楊納傑克親自撰寫：1894 年動筆時將原著大幅刪節，編輯期間開始寫下樂思，同年開始寫作交響樂場景《嫉妒》，起初他

The premiere took place at the Prague National Theatre, in 1890, and caused uproar—the author was accused of disparaging the people of Slovácko. This did not deter Janá ek from securing the rights to adapt Her Stepdaughter even before the premiere of the opera The Beginning of a Romance in 1893, though Preissová, unconvinced the play was suitable for an opera, tried to talk him out of it. This time, though, Janá ek did not want to write a libretto in verse and was one of the first composers to decide to work from a prose text. His decision may have been influenced by problems with the verse libretto for The Beginning of a Romance, but Janá ek was drawn to a prose libretto mainly by the principle of truth in capturing the melody of speech. Although Janá ek’s first documented speech melody dates only to 1897, he would have by then already noticed the musical elements in human speech through his intense interest in folk songs. He considered human speech to be “a window into the soul”, and in his view those melodies were a reflection of a person’s character and immediate mood. The melodic and rhythmical aspects of human speech were to occupy Janá ek until his death—several thousand melodies noted down by him have been preserved. Speech melodies and folk songs led Janá ek onto a new creative path that—together with the prose concept of Her Stepdaughter— was to be a decisive factor in the development of the work’s new

About Jen fa

musical and theatrical style. Janá ek wrote the opera’s prose libretto himself. He began working on it in 1894, greatly abridging the original. While editing it, he began to note down musical ideas and the same year he began to compose the symphonic scene Jealousy, which he originally intended as the overture to Jen fa. In the end, he left it as a composition in its own right. The work on Jen fa took Janá ek almost nine years. He completed the first act in 1897, while the second and third acts were written during a time of tragedy for him and his family. In 1902, Janá ek’s daughter, Olga, became seriously ill while visiting his brother in St Petersburg. Janá ek completed the second act of the opera after Olga’s return, and the entire work just after her death in March 1903. He dedicated Jen fa to his daughter’s memory. Janá ek wanted the premiere to be at the National Theatre in Prague. However, the theatre refused, thinking the opera would not be successful. The first performance took place instead in Brno on 21 January 1904 at the National Theatre on Veve í Street under the direction of Janá ek’s pupil C. M. Hrazdira. It was a great success. However, Janá ek continued to try to get the work performed in Prague—partly because the National Theatre was the most important Czech opera, and also because poor conditions at the theatre in Brno were unsuited to performing such an innovative work. The Prague National Theatre, 17

打算將之用作《耶奴法》的序曲，可是最後還是讓《嫉妒》成為獨立作品。《耶奴法》花了他差不多九年時間才完成： 1897 年完成第一幕，但寫作第二、三幕的時候，楊納傑克一家卻面臨厄運：1902 年，女兒奧嘉到聖彼得堡探訪叔父時染上重病。楊納傑克在奧嘉回鄉之後完成第二幕；全劇則在 1903 年 3 月奧嘉離世後不久完成。作曲家將《耶奴法》題獻給女兒以作悼念。他希望《耶奴法》能在布拉格國家劇院首演，可是劇院以劇目不會受歡迎為由拒絕。首演於是改為 1904 年 1 月

21 日在布爾諾維維日街的布爾諾國家歌劇院舉行，由楊納傑克的學生赫拉茲迪拉指揮。當晚首演雖然大獲好評，但楊納傑克仍然想盡辦法讓《耶奴法》能在布拉格上演，一來是布拉格國家劇院是捷克最重要的歌劇院，二來是布爾諾歌劇院的狀況欠佳，不太適合演出這種較為創新的作品；然而布拉格國家劇院卻再三拒絕。雖然《耶奴法》在 1906 年和 1911 年先後在布爾諾載譽重演，藝術好友俱樂部也在 1908 年發行其鋼琴聲樂譜，但布拉格音樂界的反應負面，令楊納傑克仍然耿耿於懷。直至 1915 年，

however, continued to turn the opera down. Though it was performed in Brno again in 1906 and 1911 and the Club of Friends of Art published the first printed piano score in 1908, the negative attitude of Prague caused Janá ek considerable pain. It was not until 1915 that, thanks to the efforts of Janá ek’s friends, the Prague National Theatre’s management and the conductor Karel Kova ovic were persuaded to take Jen fa on. For the Prague premiere, Kova ovic, with Janá ek’s permission, made changes to the opera, particularly in the instrumentation, and oversaw

關於《耶奴法》

經過楊納傑克多位友人極力爭取，布拉格國家劇院管理層和指揮高法羅維才被說服，終於答應讓《耶奴法》在劇院上演。

為了布拉格的首演，指揮高法羅維得到作曲家允許，對《耶奴法》作出改動，尤其在配器方面改動最大，高法羅維更親自監督排練。1916 年 5 月 26 日在布拉格的首演非常成功，楊納傑克隨即舉國知名，不久更蜚聲國際。作家兼記者布羅德向維也納出版社環球出版引介《耶奴法》，更親自將此劇譯成德語，沒多久維也納皇家宮廷歌劇院就表示對作品有興趣；1918 年的維也納首演不但好評如潮，更將楊納傑克的作品推向世界各地。沒多久，《耶奴法》就開始在海外搬演，在 1920 年代期間於薩格勒布、柏林、紐約大都會歌劇院、巴塞爾、安特衛普和赫爾辛基上演。

時至今日，《耶奴法》已成為最常演出的二十世紀歌劇劇目之一。有好幾十年時間，《耶奴法》上演時所用的樂譜，都是當年被指揮高法羅維修改過配器的版本；幸虧有指揮家麥卡拉斯爵士和音樂學者泰利爾共同編輯的新版本，這些改動都已逐步復原了。現在，演奏這首在多方面開創先河的作品時，普遍都是按照楊納傑克的原本寫法演出。

原載於 2020 年布爾諾楊納傑克節的演出場刊。獲藝團授權修訂。

About Jen fa

the rehearsals himself. After the great success of the Prague premiere on 26 May 1916, Janá ek became a composer of national standing, which was soon to be followed by international renown. Max Brod brought Jen fa to the attention of the Viennese publishers Universal Edition. He translated the opera into German and soon afterwards the Vienna Court Opera expressed an interest in it. The Vienna premiere in 1918 was a resounding success and opened up Janá ek’s works to the rest of the world. Further performances of Jen fa abroad were not long in coming—during Janá ek’s lifetime the opera was staged in Zagreb (1920), Berlin (1924), at the Metropolitan Opera House in New York (1924), in Basel (1925), Antwerp (1927) and Helsinki (1928). Today, Jen fa is one of the most frequently performed 20thcentury operas. Thanks to the edition by the conductor Sir Charles Mackerras and the musicologist John Tyrrell, the instrumentally altered version of the opera by Karel Kova ovic, which was performed for many decades, is gradually falling into disuse. It is now common to hear Jen fa, a groundbreaking work in many respects, as Leoš Janá ek originally intended.

Originally published in the house programme for the performance at the Janá ek Brno Festival in 2020. Edited with the company’s permission.

關於楊納傑克

ABOUT LEOŠ JANÁ EK

楊納傑克不但是作曲家、教師、指揮家、鋼琴家、作家

以及民俗學者，更是二十世紀數一數二的音樂創作者。雖然論年齡，他與德伏扎克屬於同一世代，不過楊納傑克的音樂在上世紀算得上最先鋒的一批。他生前一直與位於捷

克東部摩爾維亞地區的布爾諾息息相關：既在當地生活了大半生，而且積極籌辦各類文化組織、指揮及教學，對當

地文化生活貢獻甚大。楊納傑克大部份作品都在布爾諾首演，可見他與這個城市關係密切。

Composer, teacher, conductor, pianist, writer and folklorist Leoš Janá ek (1854–1928) was one of the 20th century’s most remarkable creators of music. Though by age he belongs more to the generation of Antonín Dvo ák, his compositions were among the most progressive works of music created during the last century. Janá ek’s links with the city of Brno remained firm. He had a close relationship with the Moravian city, spending most of his life there, and making significant contributions to its cultural life through his organising, conducting and teaching. Most of Janá ek’s works had their premiere in Brno, emphasising the closeness of the bond between the composer and the city. 20

關於楊納傑克

楊納傑克生於捷克胡克瓦爾迪，十一歲時（ 1865 年）來到布爾諾。父親讓他入讀位於布爾諾舊城區的奧古斯丁聖湯瑪士修道院，學生都是富音樂天份的男孩，而且由於入學以後要穿上淺藍色制服，所以被稱為「藍鳥」。這群孩子在校內得到非常優秀的音樂教育，還能參與各種製作和音樂會。 1874 年，楊納傑克通過學校的畢業試，之後就在布爾諾教師學院擔任助理教師；此外也先後在切赫工匠協會（ 1873 至 1876 年）以及布爾諾智者愛樂協會（ 1876 至 1888 年）擔任合唱總監兼指揮。年輕的楊納傑克也開始作曲，不久就漸漸減少教學工作，爭取繼續深造音樂：他 1874 年獲布拉格管風琴學院取錄，1879 至 1880 年間負笈萊比錫和維也納的音樂學院短期研習──可是他自言，在這兩所學校「沒甚麼還可以學了」。楊納傑克從萊比錫回到布爾諾不久，就與教師學院院長的女兒札德娜．舒爾祖娃結婚了。然而兩人的婚姻並不愉快，到女兒奧嘉出生以後仍然未見好轉。這時楊納傑克的工作已經非常繁忙，卻還在本已非常緊迫的日程裏加插多個組織的職務，包括布爾諾捷克國家劇院協會、俄羅斯同好會，以及藝術好友俱樂部。此外他創辦及出版摩爾維亞地區第一本音樂雜誌《音樂報》，同時又為《人民日報》撰寫樂評及專欄。自 1888 年起，他轉而鑽研民歌及民間舞曲，而且為了

Leoš Janá ek came to Brno as an 11-year-old from his native Hukvaldy in 1865. His father had enrolled him in the foundation of the Augustinian Abbey of St Thomas in Old Brno. Musically gifted boys who were accepted into the foundation were called “bluebirds” because of the lightblue uniform they wore. They received an excellent musical education at the abbey and took part in its productions and concerts. After passing the school-leaving exam in 1874, he worked at the Brno Teaching Institute as an assistant teacher. He was also a choirmaster and conductor at the Svatopluk Artisans’ Association (1873–76) and at the Beseda brn nská Philharmonic Society (1876–88). The young Janá ek had already started composing and he soon drifted away from teaching, striving to further his musical education. In 1874 he was accepted into the Prague Organ School. In 1879 and 1880 he studied briefly at the Leipzig and Vienna conservatories but found that, in his own words, “there was nothing left to learn”. Not long after his return from Leipzig, Janá ek married Zdenka Schulzová, the daughter of the teaching institute’s director. The marriage was not a happy one and remained unsettled even after the birth of their daughter Olga. By then, Janá ek was already very busy with work. To an already crowded schedule, he added duties at the Association for a Czech National Theatre in Brno, the Russian Circle and the

About Leoš Janá ek

Club of the Friends of Art. He founded and published the first musical periodical in Moravia, Hudební listy (The Music Pages), and contributed reviews and columns to the Lidové noviny newspaper. From 1888, he was intensively involved in the study of folk songs and dances, which he often collected and recorded directly in the field. He wrote several dedicated theoretical works and published the collection Bouquet of Moravian National Songs in collaboration with František Bartoš. In addition to his examination of folk songs, Janá ek also became interested in psychology and its expression via the spoken word. He was convinced that human speech could be recorded objectively using notation. From 1897 until his death, Janá ek devoted himself to recording and collecting such melodies. Janá ek took a new approach to composition with the opera Jen fa, based on a play by Gabriela Preissová. In this opera, Janá ek arrived at a distinctive style of musical expression. He gradually leaves the schema of the traditional opera, with its closed numbers and arias, behind. In their place, characteristic rhythmic forms appear in the orchestra, such as rhythmic ostinati, and the musical diction of the vocal parts of the individual characters are completely new, being based on his study of human speech. Janá ek finished the opera in 1903, after working on it for almost ten years. 21

楊納傑克劇院是布爾諾國家歌劇院歌劇團的根據地。劇院於 1965 年開幕，首個演出正是楊納傑克的《狡猾的小狐狸》 The Janá ek Theatre opened in 1965 with a production of The Cunning Little Vixen. The theatre is now home to the opera ensemble of the National Theatre Brno

蒐集這些樂曲，經常直接在考察現場錄音。他也寫了幾本理論專著，又曾與巴圖斯合作出版民歌集《摩爾維亞之繁花：民歌》。除了鑽研民歌，楊納傑克也對心理學說產生興趣，尤其留意言語如何表達人的心理狀態，亦深信人類的言語能以記譜法客觀地記錄下來。由 1897 年直至與世長辭為止， 22

Jen fa was premiered at the Brno National Theatre on 21 January 1904. In the period between the Brno and Prague premieres of Jen fa, Janá ek composed his fourth opera Destiny, parts of the lyrical piano cycle On an Overgrown Path, as well as the cycle In the Mists, the orchestral balled The Fiddler’s Child, the cantata The Eternal Gospel and the first version of the symphonic

關於楊納傑克

楊納傑克一直致力蒐集民歌旋律，並將這些旋律錄音保存。

歌劇《耶奴法》以劇作家佩拉索娃一齣戲劇為藍本，楊納傑克寫作時採用了嶄新的寫作方針，並找到風格獨特的音樂表達方式。傳統歌劇由一首首緊湊的樂曲和詠嘆調組成，但楊納傑克漸漸將這種形式拋諸腦後，改以其他元素取代，例如樂團奏出的頑固節奏型等特色節奏型，而且個別角色聲部的用語非常嶄新，皆建基於他對人類言語的研究。楊納傑克動筆寫作這齣歌劇十年以後，終於在 1903 年完成。

《耶奴法》1904 年 1 月 21 日在布爾諾國家歌劇院首演，在這次首演與日後的布拉格首演之間，楊納傑克創作了他第四齣歌劇《命運》、抒情聯篇鋼琴曲《荒草漫佈的小徑》的一部分、聯篇鋼琴曲《在迷霧中》、管弦樂敘事曲《提琴手的孩子》、清唱劇《永恆的福音》、交響狂想曲《烽火霸王布爾巴》（第一版本），以及其他作品；這些年間，作曲家開始認定《耶奴法》永遠無法在布拉格演出，也慢慢失去自信。

布拉格國家劇院將《耶奴法》拒諸門外多年以後，終於答應搬演，1916 年的布拉格首演更大獲好評；楊納傑克的事業終於起飛，繼而蜚聲國際樂壇。1918 年，《耶奴法》在維也納皇家宮廷歌劇院（維也納國家歌劇院前身）演出，更令楊納傑克躋身歐洲頂尖作曲家之列。楊納傑克生命的最後十年，是他最多產的時代。除了大量室樂作品，他也在短時間內完成了連串重要的音樂和劇場作品：《卡塔．卡芭諾娃》、《狡猾的小狐狸》、《馬克普洛斯檔案》，以及《死屋手記》。雖然年事日高，但他的音樂卻變得越來越年青，而且感情越見豐富。然而隨着作曲家不幸猝逝，這股澎湃的創造力也就畫上句號：1928 年 7 月底，楊納傑克回到家鄉胡克瓦爾迪，情人卡米拉和她的兒子都來探望他；楊納傑克不久因患上重感冒而被送往奧斯特拉瓦的療養院，同年 8 月 12 日死於嚴重肺炎，現時葬在布爾諾中央公墓。

About Leoš Janá ek

rhapsody Taras Bulba, in addition to some other works. During this time, the composer started to believe that Jen fa would never be performed in Prague, and began to lose faith in himself. After years of refusal by the Prague National Theatre, Jen fa was finally accepted, and performed to exceptional acclaim in 1916. Janá ek‘s career then flourished belatedly. International fame followed, with the performance of Jen fa at the Vienna Court Opera in 1918, which allowed him to take his place among the foremost European composers. The last ten years of Janá ek’s life were his most prolific period. As well as numerous chamber works, he composed in quick succession his most important musical and dramatic works: Ká a Kabanová, The Cunning Little Vixen, The Makropulos Case and From the House of the Dead. The older Janá ek got, the younger and more expressive his music became. Sadly, this frenzy of creativity was cut short by his sudden death. At the end of July 1928, Janá ek left for his native Hukvaldy, where Kamila and her son came to see him. He was taken to a sanatorium in Ostrava with a bad cold, and succumbed to severe pneumonia on 12 August. He is buried in Brno’s Central Cemetery.

歌劇團簡介

Company Profile

捷克布爾諾國家歌劇院

NATIONAL THEATRE BRNO

捷克布爾諾國家歌劇院旗下的楊納傑克歌劇團是中歐最頂尖的歌劇院之一，起源可追溯至 1880 年代開幕的捷克國家劇院。歌劇院曾呈獻多套重要的製作，包括楊納傑克、貝爾格、馬替奴及蕭斯達高維契等作曲家作品的世界及捷克首演。楊納傑克歌劇團亦與國外著名劇院合作，而曾合作的導演及指揮則包括：大衛．普尼、查理斯．莫克拉斯、羅伯特．卡遜、潘蜜拉．侯活、大衛．拉多克和托馬斯．哈努斯。曾合作演出者包括：彼得．史卓卡、安札．席莉亞、斯蒂芬．馬吉塔、馬格努斯．維吉利斯、阿列什．布里賽因、梅達．韓道琳、伊娃．烏邦諾娃、卡塔琳娜．卡蘭斯、安娜萊娜．佩爾松和卡麗塔．馬蒂娜。

楊納傑克歌劇團常演劇目涵蓋十八至二十世紀的歌劇，重點作品包括：《被出賣的新娘》、《魔鬼與凱特》及《瑪麗的奇蹟》等。歌劇團樂團曾巡演歐

洲、中東及亞洲地區，專注於演繹捷克音樂作品。2017 年，歌劇團曾獲香港藝術節和中國上海國際藝術節邀請，攜同超過一百八十位音樂家、歌手和世界級獨奏者演出楊納傑克的歌劇《馬克普洛斯檔案》，為觀眾帶來一場無與倫比的音樂盛宴。

The Janá ek Opera of the National Theatre Brno is among the leading opera houses in Central Europe, with its origins in the 1880s, when the Czech National Theatre opened in Brno. During its existence, the opera ensemble has introduced numerous significant productions, including world or Czechoslovak premieres of work by, among others, Janá ek, Berg, Martin and Shostakovich. The Janá ek Opera has also collaborated with distinguished theatres abroad. Among the directors and conductors it has worked with are David Pountney, Sir Charles Mackerras, Robert Carsen, Pamela Howard, David

Radok and Tomáš Hanus. It has also featured many illustrious performers, such as Peter Straka, Anja Silja, Štefan Margita, Magnus Vigilius, Aleš Briscein, Maida Hundeling, Eva Urbanová, Katarina Karnéus, Annalena Persson and Karita Mattila. The Janá ek Opera offers a wide repertoire from 18th- and 19thcentury opera as well as 20thcentury productions, such as The Bartered Bride, The Devil and Kate and The Miracles of Mary, among others. With a special focus on Czech music, the opera ensemble has also toured in Europe, the Middle East and Asia. In 2017, the Hong Kong Arts Festival and Shanghai China International Arts Festival welcomed more than 180 musicians and singers from the Janá ek Opera of the National Theatre Brno, together with world-class soloists, in an extraordinary musical celebration featuring Janá ek’s The Makropulos Case.

導演 – 馬丁．格瑟

馬丁．格瑟

Martin Glaser

導演 Director

馬丁．格瑟自 2013 年 11 月起擔任布爾諾國家歌劇院的導演。在學期間，格瑟於 1998 年在捷克布傑約維采的南波希米亞劇院工作，其後於 2006 年起擔任藝術總監。格瑟為眾多捷克及國外劇目舉行首演，製作劇目多探討遊戲、操縱及權力的主題，例如瓦茨拉夫．哈維爾《離別》、莎士比亞《馬克白》和《量罪記》，以及克里斯多夫．漢普頓《危險關係》。格瑟不時在捷克作客席導演，他製作的《天方夜譚》（羅蘭．施梅芬尼編劇）獲布拉格德語戲劇節頒發約瑟夫．巴爾文大獎。2008 年，格瑟憑《危險關係》奪得捷克戲劇展覽最優秀藝術作品獎項。除戲劇外，他亦執導音樂劇，包括皮爾森劇院的《妙女郎》，以及捷克布傑約維采劇院的《玻璃畫》。格瑟為布爾諾國家歌劇院製作的作品有楊納傑克《耶奴法》、柴可夫斯基《黑桃皇后》及威爾第《唐．卡洛》。

Director – Martin Glaser

Martin Glaser has been the director of the National Theatre Brno since November 2013. Before finishing his studies, he started working at the Drama Theatre of the South Bohemian Theatre in eské Bud jovice in 1998, later serving as art director from 2006. He mounted premieres of a number of domestic and foreign plays. His productions deal often with themes of games, manipulation and power, such as Václav Havel’s Leaving, Shakespeare’s Macbeth and Measure for Measure, or Christopher Hampton’s Dangerous Liaisons, He gives regular guest performances across the Czech Republic and his production of The Arabian Night by Roland Schimmelpfennig won him the Josef Balvín Award, presented by the Prague Theatre Festival of German Language. His production of Dangerous Liaisons was awarded the prize for the most remarkable artistic feat at the Czech Theatre exhibition in 2008. In addition to drama, he has directed musicals, including Funny Girl at the Pilsen Theatre and Painted on Glass at the eské Bud jovice Drama Theatre. With the Brno ensemble, he has staged Janá ek’s Jen fa, Tchaikovsky’s The Queen of Spades and Verdi’s Don Carlos.

指揮 – 馬可．伊雲奴域

馬可．伊雲奴域

Marko Ivanovi

指揮 Conductor

捷克著名指揮家馬可．伊雲奴域是位多才多藝的音樂家，也是布爾諾國家歌劇院楊納傑克歌劇團的首席指揮。作為指揮家，他曾與捷克及國外的管弦樂團合作，包括捷克愛樂樂團、布拉格交響樂團、布拉格愛樂樂團、馬替奴愛樂樂團、波蘭蘇德卡愛樂樂團，以及日本富山學院樂團等。

2011 年，他在瑞典馬爾默指揮楊納傑克的歌劇《耶奴法》； 2015 年曾為瑞典的哥德堡歌劇院製作《馬克普洛斯檔案》。他亦以作曲家的身份參與歐洲多國的大型音樂節。

在布爾諾國家歌劇院指揮的劇目包括：楊納傑克《馬克普洛斯檔案》（ 2014 ）、《耶奴法》（ 2015 ）、托馬斯．阿迪斯《塗脂抹粉》的捷克首演（ 2016 ）、馬替奴《吉爾伽美什史詩》及浦塞爾《狄多與依尼亞斯》的雙演出、巴托克《藍鬍子的城堡》及荀伯格《期待》的雙演出、凱雅．莎里亞荷歌劇《遙遠的愛》的捷克首演（ 2017 ）、楊納傑克《狡猾的小狐狸》（ 2018 ），以及個人歌劇作品《紀念碑》的全球首演（ 2020 ）。

Conductor – Marko Ivanovi

Marko Ivanovi is one of the Czech Republic’s leading conductors, a versatile musician and the chief conductor of the Janá ek Opera of the National Theatre Brno. As conductor, he has collaborated with orchestras in both the Czech Republic and abroad, including the Czech Philharmonic, the Prague Symphony Orchestra, the Prague Philharmonia, the Bohuslav Martin Philharmonic Orchestra, the Filharmonia Sudecka (Poland) and the Toyama Academy Orchestra (Japan), among others. In 2011, he conducted Janá ek’s opera Jen fa in Malmö, Sweden. He also produced The Makropulos Case for the Göteborg Opera in Gothenburg, Sweden in 2015. He has also performed as a composer in many European countries, appearing mainly at major festivals. At the National Theatre Brno he has performed Janá ek’s The Makropulos Case (2014), Jen fa (2015), the Czech premiere of Thomas Adès’s Powder Her Face (2016), a double feature of the Epic of Gilgamesh by Bohuslav Martin and Dido and Aeneas by Henry Purcell, a double-bill of Bartók’s Bluebeard’s Castle and Schönberg’s Expectation, and the Czech premiere of the opera L’amour de loin by Kaija Saariaho (2017), Janá ek’s The Cunning Little Vixen (2018) and the world premiere of his own opera Monument (2020). 31

創作團隊簡介

Creative Team Profiles

巴維．博拉克

Pavel Borák

佈景設計 Set Designer

巴維．博拉克是布爾諾人，自 1994 年起擔任舞台佈景設計，參與過百部作品。他不時與其他藝術家合作，包括魯齊卡、肇加．米科托瓦、比丁斯基、奥德杰．埃爾貝爾、帕維爾．希馬克、馬丁．格瑟和羅曼．波拉克。博拉克為莫里哀《憤世者》在馬丁斯洛伐克室內劇院的公演擔任舞台設計，獲頒斯洛伐克 2009/2010 劇季 DOSKY 最佳舞台佈景獎。2013 年及 2015 年，他分別憑《卡拉馬佐夫兄弟》和《群山的新娘》獲提名同一獎項。他為布爾諾國家歌劇院楊納傑克歌劇團的舞台設計作品包括《漂泊的荷蘭人》、《黑桃皇后》、《唐．卡洛》和《耶奴法》。

Pavel Borák is a native of Brno and has worked in scenography since 1994. In more than 100 productions, he has regularly collaborated with T. R ži ka, Zoja Mikotová, J. A. Pitínský, Ond ej Elbel, Pavel Šimák, Martin Glaser and Roman Polák. His stage design for the production of Molière’s The Misanthrope at the Slovak Chamber Theatre in Martin earned him the DOSKY award for the best scenography of the 2009/2010 season in Slovakia. He was nominated for the same award in 2013 for his work on The Brothers Karamazov and in 2015 for The Bride of the Mountains. For the Janá ek Opera of the National Theatre Brno he has designed sets for the Flying Dutchman, The Queen of Spades, Don Carlos and Jen fa.

創作團隊簡介

瑪琪塔．史拉迪高娃

Markéta Sláde ková

服裝設計 Costume Designer

瑪琪塔．史拉迪高娃 2000 年畢業於楊納傑克音樂與表演藝術學院。此前曾於楊．沙華斯基的工作室學習舞台設計。她與捷克電視台合作多年，其後專注戲劇舞台設計，曾在捷克及斯洛伐克的多間劇院工作。史拉迪高娃經常與導演馬丁．提奇合作，並於 2005 年憑《天方夜譚》獲提名阿爾弗雷德．拉多克獎。其他多次合作的導演及演員包括：威廉．多科羅曼斯基，以及布爾季斯拉夫．李赫利克。史拉迪高娃亦有涉足空間設計，例如為 2014 年法蘭克福書展設計捷克展覽。

Creative Team Profiles

Markéta Sláde ková graduated from the Janá ek Academy of Music and Performing Arts in 2000 after studying scenography at the studio of Ján Zavarský. She cooperated with Czech television for several years and later she focused mainly on drama scenography. She has worked in many theatres in the Czech Republic and Slovakia. She has regularly collaborated with director Martin Tichý, for whose 2005 production of The Arabian Night she was nominated for the Alfréd Radok award in 2005. Other directors and actors she works with regularly include Viliam Do olomanský and B etislav Rychlík. She also occasionally works in spatial design, such as when she designed the Czech exposition at the Frankfurt Book Fair in 2014.

馬丁．史比力

Martin Špetlík

燈光設計 Lighting Designer

馬丁．史比力在圖爾諾夫就讀文法學校時，已經開始燈光設計工作。他其後在布拉格捷克理工大學修讀建築，中途退學後回歸劇院工作。史比力深受布拉格的德弗札克劇院和斯密霍夫的什萬達劇院吸引，自 2007 年起擔任自由身燈光設計師。他曾與各地劇院合作，包括捷克、法國、俄羅斯、芬蘭、荷蘭、加拿大和美國。史比力專注於肢體及舞蹈劇場、場域特定演出，以及物件及視覺劇場，他亦有教授燈光設計以及製作場景燈光裝置。

Martin Špetlík started working as a lighting engineer while still in grammar school in Turnov. He later studied architecture at the Czech Technical University in Prague before dropping out and returning to work in theatre. Following spells at the Dejvické Theatre in Prague and the Švanda Theatre in Smíchov he has worked as a freelance lighting designer since 2007. He has worked with theatre companies from the Czech Republic, France, Russia, Finland, the Netherlands, Canada and the United States. He specialises in physical and dance theatre as well as sitespecific, object and visual theatre. He has also taught lighting and scenic lighting installation.

創作團隊簡介

瑪利奥．拉達高夫斯基

Mário Rada ovský

編舞 Choreographer

瑪利奥．拉達高夫斯基 1989 年加入 SND 芭蕾舞團，開展其舞蹈生涯。他畢業於布拉迪斯拉瓦的伊娃．雅高娃舞蹈學院，其後加入海牙荷蘭舞蹈劇院， 1999 年成為加拿大蒙特利爾大芭蕾舞團首席獨舞。2000 年，他回歸 SND 芭蕾舞團擔任客席獨舞，並於 2006 至 2010 年擔任藝術總監。自 2013 年起，他是布爾諾國家芭蕾舞劇院的藝術總監。拉達高夫斯基曾於世界各地演出，亮相於許多著名芭蕾舞表演，其編舞作品亦登上歐洲及北美的舞台。

Creative Team Profiles

Mário Rada ovský started with Balet SND in 1989, After graduating from the Dance Conservatory of Eva Jaczová in Bratislava he danced at the Netherlands Dance Theatre in The Hague, and became the first soloist of Les Grands Ballets Canadiens in Montreal in 1999. He returned to Balet SND in 2000 as a guest soloist and served as art director from 2006 to 2010. Since 2013, he has been the art director of the National Theatre Brno Ballet. He has performed across the world at many prestigious ballet galas and his choreographies have been staged in both Europe and North America.

演員簡介

Casts Profiles

帕芙拉．維科帕洛娃

Pavla Vykopalová

飾 – 耶奴法 as Jen fa

帕芙拉．維科帕洛娃獲《歌劇新聞》雜誌譽為「現今最傑出的捷克歌手之一」。她演出劇目廣泛，涉足所有類型及風格的聲樂，橫跨巴羅克時期歌劇至當代作品。她與布爾諾楊納傑克歌劇團長期合作，也不時於布拉格國家劇院及布拉格國家歌劇院作客席演出。曾演出劇目包括：在巴黎夏特律歌劇院上演的楊納傑克《耶奴法》，以及在布拉格、法蘭克福及東京上演的伯恩斯坦第三交響曲「卡迪希」（伊利亞胡．殷巴爾指揮）。維科帕洛娃亦與許多著名指揮家合作，例如：伊里．考特、伊里．貝勞拿域、利奧波德．夏格、及伊凡．費沙爾。2016 年，維科帕洛娃憑《卡塔．卡芭諾娃》（加拿大導演羅伯特．卡遜執導）的主演角色獲塔利亞獎。

Opera News magazine has called Pavla Vykopalová “one of the most remarkable Czech singers of the present day”. Her broad repertoire contains vocal music of all genres and styles from baroque opera to contemporary compositions. As well as having a permanent engagement with the Janá ek Opera in Brno, she is a regular guest of the Prague National Theatre and the Prague State Opera. She has performed in Janá ek’s Jen fa at the Théâtre du Châtelet in Paris, and in Leonard Bernstein’s Symphony No 3 “Kaddish” in Prague, Frankfurt and Tokyo under the conductor Eliahu Inbal. She has also performed under major conductors such as as Ji í Kout, Ji í B lohlávek, Leopold Hager and Iván Fischer. In 2016, Pavla Vykopalová was awarded the Thalia Prize for her performance in the title role of Ká a Kabanová, directed by the Canadian Robert Carsen.

演員簡介

蘇菲亞．拉利克

Szilvia Rálik

飾 – 郭坦妮卡 as Kostelni ka

女高音蘇菲亞．拉利克畢業於匈牙利東南部貝凱薩巴的學院，主修唱歌及小提琴，其後亦畢業於斯格德的音樂學院。 2001 年 1 月，拉利克首次在匈牙利國家歌劇院演出華格納的《齊格弗里德》，自 2002 年起擔任該歌劇院的獨唱。2003 年，她憑《火天使》首次在布達佩斯春季音樂節演出，並在 2004 年獲年度之聲大獎，2008 年獲貢德勒音樂藝術傑出成就獎， 2010 年獲歌劇藝術家年奬。曾演繹的歌劇角色包括：威爾第的馬克白夫人、史特勞斯的埃萊克特拉、普契尼的杜蘭朵和托斯卡。她曾於捷克布爾諾國家歌劇院及布拉格國家歌劇院作客席演出，亦曾在各地舞台亮相，例如匈牙利、德國、奧地利、丹麥、盧森堡、荷蘭和瑞士。

The soprano Szilvia Rálik graduated in singing and violin from the conservatory in Békéscsaba in south-eastern Hungary and the Music Academy in Szeged. She debuted at the Hungarian National Opera in Budapest in Wagner’s Siegfried in January 2001 and, since 2002, she has been a soloist of the opera. In 2003, she made her debut at the Budapest Spring Festival in The Fiery Angel. In 2004, she won the Voice of the Year Award, in 2008 the Gundel Award for Outstanding Achievement in Musical Arts and the Prima Award in 2010. Her opera roles have included Verdi’s Lady Macbeth, Strauss’s Elektra, and Puccini’s Turandot and Tosca. In the Czech Republic, she has given guest performances at the National Opera Brno and the Prague State Opera. She has performed in Hungary, Germany, Austria, Denmark, Luxembourg, the Netherlands and Switzerland.

Cast Profiles

雅羅斯拉夫．布熱齊納

Jaroslav B ezina

飾 – 路卡 as Laca

雅羅斯拉夫．布熱齊納是布拉格國家劇院的獨唱，曾演繹多個捷克及國際劇目的角色，包括《唐喬望尼》的唐．奧大維歐、《狄托的仁慈》的狄托，以及《魔笛》的塔米諾。2016 年，他在都靈皇家劇院《狡猾的小狐狸》中飾演男教師（簡．萊瑟姆—克尼指揮、羅伯特．卡遜執導作品），並在布拉格和倫敦上演的《耶奴法》音樂會版本飾演史提法，與指揮伊里．貝洛拉維克和捷克愛樂樂團演出。布熱齊納專注演繹巴羅克和古典劇目，曾於各地演出，例如日本、奧地利、挪威、意大利、德國、法國和西班牙。

Jaroslav B ezina is a soloist at the Opera of the Prague National Theatre, where he has performed a number of roles from the domestic and international repertoires, including Don Ottavio (Don Giovanni), Tito (La clemenza di Tito), Tamino (The Magic Flute). In 2016, he played the role of Schoolmaster in The Cunning Little Vixen in the production conducted by Jan Latham-Koenig and directed by Robert Carsen at Teatro Regio in Turin and the role of Števa in the concert renditions of Jen fa in Prague and London with Ji í B lohlávek and the Czech Philharmonic. He has performed, mostly in the baroque and classical repertoire, on stages in Japan, Austria, Norway, Italy, Germany, France and Spain.

托馬斯．朱翰斯

Tomáš Juhás

飾 – 史提法 as Števa

托馬斯．朱翰斯在布拉提斯拉瓦的音樂教育學院修讀聲樂。 2002 年，他飾演泰倫斯．麥勒利《大師班》的東尼，並在布拉迪斯拉瓦的斯洛伐克國家劇院進行舞台首演。曾演繹的角色包括：楊納傑克《卡塔．卡芭諾娃》的波里斯、柴可夫斯基《尤金．奧尼金》的蘭斯基，以及唐尼采第《愛情靈藥》的奈莫利諾。朱翰斯曾在布拉格國家劇院客席演出《茶花女》的阿爾弗雷，並在巴黎巴士底歌劇院客席演出卡雷爾的《伊爾斯的心》的伯爵。他曾與斯洛伐克愛樂樂團合作，錄製貝多芬第九交響曲專輯，指揮為日本的林千尋。曾合作的指揮家包括：馬克．阿布雷希特、喬治．克魯斯、安德列．雷納德、雅洛斯拉夫．基茲林克、奧利華．多赫南伊及拉斯蒂斯拉夫．斯特。

Tomáš Juhás studied voice at the Conservatory and Academy of Music in Bratislava. In 2002 he debuted on the stage of the Slovak National Theatre in Bratislava as Tony in Terrence McNally’s Master Class. His roles include Boris in Janá ek’s Ká a Kabanová, Lenski in Tchaikovsky’s Eugene Onegin and Nemorino in Donizetti’s L’elisir d’amore. He has made guest appearances at the Prague National Theatre as Alfredo in La traviata and the Count in Karel’s Ilsea’s Heart and at the Opéra Bastille in Paris. He has recorded a CD of Beethoven’s Symphony No 9, accompanied by the Slovak Philharmonic Orchestra under the baton of the Japanese conductor Chihiro Hayashi. Conductors he has worked with include Marc Albrecht, Giorgio Crocci, Ondrej Lenárd, Jaroslav Kyzlink, Oliver Dohnányi and Rastislav Štúr.

鳴謝 ACKNOWLEDGEMENTS

香港藝術節衷心感謝下列機構及人士的慷慨支持： The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron’s Club Members

鉑金會員 Platinum Member 嘉里控股有限公司 Kerry Holdings Limited

黃金會員 Gold Member 怡和集團

The Jardine Matheson Group

純銀會員 Silver Member 太古集團慈善信託基金

The Swire Group Charitable Trust

青銅會員 Bronze Members 鷹君集團有限公司 Great Eagle Group

上海商業銀行有限公司

Shanghai Commercial Bank Limited

實物支持機構 In-kind Supporters

嘉頓有限公司 The Garden Company Limited

學生票捐助計劃 Student Ticket Scheme

鉑金捐款者

PLATINUM DONORS

HK$140,000 或以上 AND ABOVE

無名氏 (2) Anonymous (2) Burger Collection

鑽石捐款者

DIAMOND DONORS HK$70,000 – HK$139,999

Rusy and Purviz Shroff Charitable Foundation

田家炳基金會 Tin Ka Ping Foundation

芝蘭基金會 Zhilan Foundation 黃金捐款者 GOLD DONORS HK$12,000 – HK$29,999

Dr Chung See Yuen Peter and Nancy Thompson Mr William To

純銀捐款者 SILVER DONORS HK$6,000 – HK$11,999

Initial Fashion

無名氏 Anonymous Mr Iain Bruce 馮兆林先生夫人 Mr & Mrs Fung Shiu Lam Dr Mak Lai Wo 黃乃正及陳穎儀

Ms Wong Pie Yue Cleresa

青銅捐款者 BRONZE DONORS HK$3,000 – HK$5,999

無名氏 (3) Anonymous (3)

網上藝術教育捐助計劃 Digital Arts Education Scheme

鑽石捐款者

DIAMOND DONORS

黃金捐款者 GOLD DONOR

HK$70,000 – HK$139,999

Dr & Mrs Samuel and Ellen Lam

Lincoln & Yu-San Leong Sino Group

HK$12,000 – HK$29,999

純銀捐款者 SILVER DONORS HK$6,000 – HK$11,999

無名氏 Anonymous

藝術節捐助計劃 Festival Donation Scheme

翡翠捐款者 JADE DONORS HK$30,000 – HK$69,999

無名氏 Anonymous

Nine Queens Investment Limited Shun Hing Group

黃金捐款者 GOLD DONORS HK$12,000 – HK$29,999

Mr & Mrs Jeffrey & Helen Chan Mr SHN Cheng

Ms Jenny Hodgson Mr Stephen Tan Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao Samuel & Amy Wang Mr Andric Yew

純銀捐款者 SILVER DONORS HK$6,000 – HK$11,999

無名氏 (4) Anonymous (4)

新作捐助計劃 New Works Scheme

翡翠捐款者 JADE DONOR HK$30,000 – HK$69,999

Nine Queens Investment Limited

黃金捐款者 GOLD DONOR HK$12,000 – HK$29,999

劉仰澤先生 Mr Lau Yeung Chak

Mrs Germaine Tso Ms Wu Tseng Helen

青銅捐款者 BRONZE DONORS HK$3,000 – HK$5,999

無名氏 (4) Anonymous (4) Star B Chan & MDB

Mr & Mrs David S L Lin Dr Michael Mak Dr Ronald Paul Ng Mrs A.M. Peyer Leland & Helen Sun Mr Wong Yick Kam Ms Isabel Yiu

青銅捐款者 BRONZE DONORS

Ms Chan Wan Tung Mr D Chang Ms Savita Leung Mrs A.M. Peyer Ms Janice Ritchie Mr Alex So Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

殷和順先生劉善萍女士

Mr Lee King Fung Mrs A.M. Peyer Mr Alex So Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

無名氏 (4) Anonymous (4) Mrs Veryan E. Bradshaw Ms Grace Chiang Dr Alfred Lau Ms Khoo Li Lian Flavia & Gary Ma Mr & Mrs Gary Ma Dr Jason Yeung

HK$3,000 – HK$5,999

純銀捐款者 SILVER DONOR HK$6,000 – HK$11,999

無名氏 Anonymous

青銅捐款者 BRONZE DONORS HK$3,000 – HK$5,999

無名氏 Anonymous Ms Grace Chiang Mr S C Tong Ling Mrs A.M. Peyer

支持及協助 SUPPORT AND COOPERATION Acorn Design Alfie Leung Design

教育局藝術教育組

Arts Education Section, Education Bureau 香港展能藝術會

Arts with the Disabled Association Hong Kong 香港愉景灣酒店

Auberge Discovery Bay Hong Kong 奧地利駐香港總領事館

Austrian Consulate General Hong Kong 樺利廣告有限公司

Avanny Advertising Co Ltd

香港小交響樂團

Hong Kong Sinfonietta 宜必思香港中上環

ibis Hong Kong Central and Sheung Wan 工銀亞洲 ICBC (Asia)

香港以外地區經濟事務辦事處新聞及公共關係組

Information and Public Relations Units in Offices Outside Hong Kong 港島太平洋酒店

Island Pacific Hotel Hong Kong JellyBin Limited

• 文學院 Faculty of Arts

香港演藝學院

The Hong Kong Academy for Performing Arts

• 戲曲學院 School of Chinese Opera • 戲劇學院 School of Drama

• 音樂學院 School of Music

中環石板街酒店

The Pottinger Hong Kong

港青 - 香港基督教青年會 The Salisbury – YMCA of Hong Kong 綠葉劇團

BRICK LANE

高山劇場

光華新聞文化中心

THEDO

British Consulate General Hong Kong

中央人民政府駐香港特別行政區聯絡辦公室

Tom Lee Music Company Ltd

英國駐香港總領事館

Ko Shan Theatre

Théâtre de la Feuille

Broadway Cinema

Kwang Hwa Information & Culture Center

通利琴行

CAMPSITE

Liaison Office of the Central People's Government in the HKSAR

Trinity Theatre

Cattle Depot Artist Village

Marco Polo Hongkong Hotel

百老匯院線 Broadway Circuit

三角關係

馬哥孛羅香港酒店

屯門大會堂

周生生集團國際有限公司

Maxibit HK/China

URBTIX

中信國際電訊（信息技術）有限公司

Ministry of Culture and Tourism, PRC

牛棚藝術村

Chow Sang Sang Jewellery Co. Ltd

CITIC Telecom International CPC Limited 城市當代舞蹈團

City Contemporary Dance Company 城巿花園酒店

中華人民共和國文化和旅遊部

Mission Production Company Ltd MOViE MOViE 太古城中心 MOViE MOViE Cityplaza

City Garden Hotel

MOViE MOViE 太古廣場 MOViE MOViE Pacific Place

Consulate General of Canada in Hong Kong and Macau

Mr Alpha Li

加拿大駐香港總領事館

捷克共和國駐香港領事館

Consulate General of the Czech Republic in Hong Kong 俄羅斯駐香港總領事館

Consulate General of the Russian Federation in Hong Kong SAR, PRC 香港城市大學中文及歷史學系

Department of Chinese and History, The City University of Hong Kong 香港教育大學文化與創意藝術學系

Department of Cultural and Creative Arts, Education University of Hong Kong 嶺南大學文化研究系

李鏡輝先生

前進進戲劇工作坊 On & On Theatre Workshop

One Minden Tapas Kitchen 柏斯琴行

Parsons Music Limited

沙田大會堂

Sha Tin Town Hall

Hong Kong Arts Administrators Association

上環文娛中心

Sheung Wan Civic Centre

Hong Kong Arts Centre

Shun Hing Electronic Trading Co., Ltd.

Hong Kong Baptist University

• 音樂系 Department of Music

• 拉闊文化 Cultural Literacy Programme

香港中樂團

元朗劇院

Yuen Long Theatre 赤豚事務所

Zhu Graphizs

Speedy Promotion Limited 台灣蘇富比國際房地產

Taiwan Sotheby's International Realty

Hong Kong Cultural Centre

香港八和會館

Hong Kong Gold Coast Hotel

香港中文大學

Tao Fong Shan Christian Centre The Artland Co Ltd

The Chinese Artists Association of Hong Kong The Chinese University of Hong Kong

Hong Kong Philharmonic Orchestra

• 文化及宗教研究系 Department of Cultural and Religious Studies

Hong Kong Tourism Board

• 音樂系 Department of Music

香港旅遊發展局

wine etc

事必達推廣有限公司

藝林文具印刷有限公司

香港管弦樂團

Wharney Hotel

Southgate Design

Hong Kong City Hall 香港黃金海岸酒店

粵海華美灣際酒店

信興電器貿易有限公司

道風山基督教叢林

香港文化中心

West Kowloon Cultural District Authority

Primasia Corporate Services Limited

Hong Kong Chinese Orchestra 香港大會堂

西九文化區管理局

Pixellent

Gloucester Luk Kwok Hong Kong

香港浸會大學

Wealthy Step Printing Co.

Piano Arts Service Limited

Royal Pacific Hotel

香港藝術中心

進富印刷公司

PCCW

皇家太平洋酒店

香港藝術行政人員協會

WeDraman Black Box Theatre

電訊盈科

Fringe Club 六國酒店

同流黑盒劇場

Patsville Company Ltd

犇華企業服務有限公司

藝穗會

城市售票網

卓滙達有限公司

Die Konzertisten

Department of Cultural Studies, Lingnan University

Tuen Mun Town Hall

節目一覽 FESTIVAL PROGRAMME 荀伯格合唱團

Arnold Schoenberg Choir 《節目構想》 Curating the Programme

《後浪漫主義時期的歐洲合唱音樂傳統》 The European Choral Tradition of the Late Romantic Period

粵劇《挪亞方舟》

Cantonese Opera Noah’s Ark

幕後花絮 Behind-the-scenes

《當彩瓷遇上戲曲》 Telling Images of Xiqu on Porcelain

查爾斯．理察－哈梅林音樂會 Charles Richard-Hamelin

Concerts

《面對鋼琴大賽的焦慮》 Conquering Performance Anxiety in Piano Competition

多瑪倉庫劇院《盲流感》

Donmar Warehouse Blindness

香港中樂團 — 樂旅中國

Hong Kong Chinese Orchestra Music About China 俄羅斯莫伊謝耶夫舞團「特備節目」

Igor Moiseyev State Academic Ensemble of Popular Dance Igor Moiseyev Ballet Special

《繼續演出》─ 伊蓮娜．莎巴科娃從藝五十年 Without Intermission – 50 Years of Artistic Life of Elena Shcherbakova

香港小交響樂團英雄 · 貝多芬

Inspired by Beethoven – Hong Kong Sinfonietta•Eroica

賽馬會本地菁英創作系列《後話西遊》/《兩個女子》

Jockey Club Local Creative Talent Series Journey to the West Rewind / Women Like Us

《〈兩個女子〉：追求漫長幸福路的艱辛》 Women Like Us On the Arduous Path to Happiness 《〈後話西遊〉：如何在新常態下繼續取經》 The New Normal of Journey to the West Rewind

賽馬會本地菁英創作系列音樂劇《日新》（暫名）工作坊展演

Jockey Club Local Creative Talent Series Yat-sen (tentative title) Work-inProgress Preview 《〈日新〉創作團隊訪問》 Creative team sharing on Musical Yat-sen

馬修 · 伯恩芭蕾電影系列《仙履奇緣》

Matthew Bourne’s Ballet Film Series Cinderella

幕後花絮 Behind-the-scenes

馬修 · 伯恩芭蕾電影系列《羅密歐與茱麗葉》

Matthew Bourne’s Ballet Film Series Romeo & Juliet

幕後花絮 Behind-the-scenes

馬修 · 伯恩芭蕾電影系列《天鵝湖》

Matthew Bourne’s Ballet Film Series Swan Lake

幕後花絮 Behind-the-scenes

馬修 · 伯恩新冒險舞蹈團芭蕾電影《紅舞鞋》

A Matthew Bourne’s New Adventures production Ballet Film: The Red Shoes 捷克布爾諾國家歌劇院《耶奴法》

National Theatre Brno Jen fa

幕後花絮 Behind-the-scenes

《追尋楊納傑克的足跡》 In the Footsteps of Leoš Janá ek 《樂遊捷地》 Into the Czech Lands

捷克布爾諾國家歌劇院《狡猾的小狐狸》

National Theatre Brno The Cunning Little Vixen

幕後花絮 Behind-the-scenes

捷克布爾諾國家歌劇院《失蹤者的日記》

National Theatre Brno The Diary of One Who Disappeared 《演繹楊納傑克》 Performing Janá ek

《楊納傑克的戀戀情思》 Janá ek's Unrequited Love

巴維．哈斯四重奏

Pavel Haas Quartet

《楊納傑克與馬天奈弦樂四重奏：親暱與著迷》 Janá ek and Martin : Intimacy and Obsessions in String Quartets 《追尋楊納傑克》 Finding Your Own Janá ek

揚．巴托斯鋼琴獨奏會

Piano Recital by Jan Bartoš

《楊納傑克鋼琴作品分析》 Revealing Janá ek and His Piano Works

史葛 · 蕭凡《心靈旅程》

Scott Silven’s The Journey

演後藝人談 Meet-the-Artist

快刀劇場《無晴情天氣報告》

The Chop Pathetic Fallacy

香港賽馬會當代舞蹈平台《當代十年》

The Hong Kong Jockey Club Contemporary Dance Series Dance On and Off

《疫情下舞蹈家如何發展身體潛能》 Dancers at Home 《在不明確的世界中尋找眾聲起舞的意義》 Voice Out Mokita in An Uncertain World

香港賽馬會當代舞蹈平台《沒有大象》/《得體》

《鼠疫》（粵語版） The Plague (Cantonese version) 《為鼠疫作證》 The Witnesses of The Plague

《鼠疫》（英語版） The Plague (English version)

《此時此刻，重讀卡繆〈瘟疫〉》 Seeing your own plague in Albert Camus’s The Plague

維也納交響樂團音樂會

Wiener Symphoniker’s Concerts 導賞講座 Guided Talk

葉氏兒童合唱團兒童歌劇《愛麗絲夢遊仙境》

Yip’s Children’s Choir Children’s Opera Alice in Wonderland

音樂 Music

舞蹈 Dance

戲劇 Theatre

歌劇 / 戲曲 Opera/Chinese Opera

加料節目

藝術家分享 Artist Sharing

幕後花絮 Behind-the-scenes

紀錄片放映 Documentary Screening 講座 Talks

網上展覽 Online Exhibition 請瀏覽香港藝術節網站，查看最新節目資訊 Please visit the HKAF website for latest programme information

www.hk.artsfestival.org

The Hong Kong Jockey Club Contemporary Dance Series Elephant in the Room / Dirty

香港賽馬會當代舞蹈平台《在不明確的世界中尋找意義》

The Hong Kong Jockey Club Contemporary Dance Series Finding Meaning in an Uncertain World

香港賽馬會當代舞蹈平台《 Mokita 》/《眾聲起舞》

The Hong Kong Jockey Club Contemporary Dance Series Mokita / Voice Out

香港賽馬會當代舞蹈平台《火滅》/《煉金》

The Hong Kong Jockey Club Contemporary Dance Series Put Out the Flame / Hermetic Diode

電話 Tel 傳真 Fax 電郵 Email 節目查詢

Programme Enquiry

2824 3555 2824 3798 / 2824 3722 afgen@hkaf.org 2824 2430

香港灣仔港灣道 2 號 12 樓 1205 室

Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

贊助人

林鄭月娥女士

PATRON

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS

永遠名譽會長

邵逸夫爵士

HONORARY LIFE PRESIDENT

Sir Run Run Shaw, CBE (1907-2014)

執行委員會

EXECUTIVE COMMITTEE

主席

查懋成先生

義務司庫

李錦榮先生

副主席委員

節目委員會主席委員

盧景文教授鄭維新先生鄭惠貞女士梁靳羽珊女士梁卓偉教授文肇偉先生孫大倫博士姚潔莉女士楊光先生

委員

盧景文教授

白諾信教授紀大衛教授羅志力先生毛俊輝先生李義法官約瑟．施力先生 * 譚榮邦先生姚珏女士李錦榮先生

鄭惠貞女士梁國輝先生

發展委員會主席

副主席委員

顧問

名譽法律顧問核數師

Mr Victor Cha

Vice Chairman

Prof Lo King-man, MBE, JP, SBS

Honorary Treasurer

Mr William Li

Members

Mr Edward Cheng, GBS JP Ms Margaret Cheng Mrs Yu-san Leong Prof Gabriel Leung, GBS JP Mr Sebastian Shiu-wai Man Dr Dennis T L Sun, BBS JP Ms Miriam Yao Mr Sunny Yeung

PROGRAMME COMMITTEE

財務委員會主席

Chairman

梁靳羽珊女士雍景欣女士

鄭阮培恩女士龐建貽先生孫林宣雅女士姚祖輝先生夏佳理先生鮑磊先生陳祖澤博士陳達文博士霍璽先生李業廣先生梁紹榮夫人李國寶博士

甘乃迪女士（孖士打）羅兵咸永道會計師事務所

* 榮譽節目顧問 Honorary Programme Advisor 44

Chairman

Prof Lo King-man, MBE, JP, SBS

Members

Prof Giorgio Biancorosso Prof David Gwilt, MBE Mr Peter C L Lo Mr Fredric Mao, BBS The Hon Mr Justice Ribeiro Mr Joseph Seelig * Mr Wing-pong Tam, SBS JP Ms Jue Yao, JP

FINANCE COMMITTEE Chairman

Mr William Li

Members

Ms Margaret Cheng Mr Nelson Leong

DEVELOPMENT COMMITTEE Chairman

Mrs Yu-san Leong

Vice Chairman

Ms Jane Yong

Members

Mrs Betty Yuen Cheng Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao

ADVISORS

The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Dr John C C Chan, GBS CBE LVO JP Dr Darwin Chen, SBS ISO Mr Angus H Forsyth The Hon Charles Y K Lee, GBM GBS OBE JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon Sir David K P Li, GBM GBS OBE JP

HONORARY SOLICITOR

Ms Gabriela Kennedy, Mayer Brown

AUDITOR PricewaterhouseCoopers

職員

STAFF

行政總監行政總監助理

何嘉坤 ** 何丹蓉

助理節目經理節目統籌藝術行政見習員物流及接待經理

梁掌瑋 ** 蘇國雲游慧姿 * 葉健鈴余瑞婷 * 譚小敏 * 黃傲軒 * 袁潔敏 * 郭笑 * 金學忠 *

節目節目總監副節目總監節目經理

行政節目經理 ( 行政 ) 節目主任 ( 行政 ) 技術製作經理助理製作經理出版編輯英文編輯助理編輯

外展高級外展經理副外展經理助理外展經理外展主任市場推廣市場總監副市場總監市場經理副市場經理助理市場經理數碼營銷專員市場主任藝術行政見習員

票務市場經理 ( 票務 ) 票務主任

發展發展總監發展經理

助理發展經理藝術行政見習員會計財務主管會計經理會計主任

人力資源及行政行政經理接待員 / 初級秘書助理

無限亮項目主管項目統籌節目及外展經理助理節目及外展經理助理市場經理外展統籌助理技術及製作經理高級會計主任

蘇雪凌程鶩誼 * 梁雅芝 * 莫賦斌 * 廖健邦 * Oliver Farry* 鄭豐榮 * 黎家欣 * 李冠輝 ** 鄧冠恆 * 林嘉敏 * 張翠騫 * 李玨熙 * 李萬祺 * 鄭尚榮 ** 胡銘堯 ** 陳志雄 * 周怡楊璞 * 郭駿成 * 陳閏霖 * 劉萍 * 張予心 * 梁彩雲陳偲穎 * 鍾卓祐 * 余潔儀 ** 張慧芝 * 麥紫琴 * 譚樂瑤蘇寶蓮 * 吳樂怡 * 鄺敬婷 ** 杜詩麗 * 蘇永恆 * 譚智盈 * 李美娟黃國愛鍾雅妍 * 陸凱盈 * 林淦鈞 * 陳慧晶 * 朱穎欣 * 汪盈 * 馮顯峰 * 陳梓衡 * 彭健欣 *

* 合約職員 Contract Staff ** 無限亮指導委員會成員 No Limits Steering Committee Members

Executive Director Assistant to Executive Director PROGRAMME Programme Director Associate Programme Director Programme Managers Assistant Programme Managers Programme Coordinator Arts Administrator Trainee Logistics Manager

Tisa Ho** Connie Ho Grace Lang** So Kwok-wan Janet Yau* Susanna Yu* Tracy Tam* Loui Yuen* Stephanie Kuo* Elvis King*

ADMINISTRATION Programme Manager (Administration) Programme Officer (Administration)

Shirley So Spaky Ching*

TECHNICAL Production Manager Assistant Production Manager

Shirley Leung* Benny Mok*

PUBLICATIONS Editor English Editor Assistant Editors

James Liu* Oliver Farry* Rain Cheng*

OUTREACH Senior Outreach Manager Deputy Outreach Manager Assistant Outreach Manager Outreach Officers MARKETING Marketing Director Associate Marketing Director Marketing Managers Deputy Marketing Manager Assistant Marketing Manager Digital Marketing Specialist Marketing Officer Arts Administrator Trainee TICKETING Marketing Manager (Ticketing) Ticketing Officers DEVELOPMENT Development Director Development Managers

Kenneth Lee** Joe Tang* Carman Lam* Tracy Cheung* Kelvin Li*

Linda Yip Joseph Wong*

Melody Lai*

Michael Lee*

Katy Cheng** Dennis Wu** Dennis Chan* Alexia Chow Michelle Yeung* Joel Kwok* Ben Chan* Erica Lau* Stephanie Cheung* Eppie Leung Stephanie Chan*

Assistant Development Manager Arts Administrator Trainee

Flora Yu** Anna Cheung* Lorna Tam Conny Souw* Lois Ng*

ACCOUNTS Head of Finance Accounting Manager Accounting Officer

Teresa Kwong** Connie To* Peter So*

HR & ADMINISTRATION Office Manager Receptionist/Junior Secretary General Assistant

Judy Tam* Virginia Li Bonia Wong

NO LIMITS Project Administrator Project Coordinator Programme and Outreach Manager Assistant Programme and Outreach Manager Assistant Marketing Managers Outreach Coordinator Assistant Technical and Production Manager Senior Accounting Officer

Fiona Chung* Helen Luk* Lam Kam-kwan* Ainslee Chan* Wendy Chu* Wilson Fung* Jacob Chan* Janice Pang*

Chung Cheuk-yau*

Mak Tsz Kam*

Tiffany Wong*

按英文姓氏首字母排列 In alphabetical order

45 2021 年 3 月更新 Updated March 2021